Piano Solos
Piano Solos
Piano Tabs: Learn To Play White Christmas With Keyboard Tablature
This piano lesson will help you read piano tab notation or keyboard tablature. You will find that this type of notation is easy to understand even if you cannot read music sheets. As an example we will use the Christmas song White Christmas.
If you do not understand sheet music at all I encourage you to start learning it. Learn just a few notes at a time and give yourself time to commit the names, how they are played and how they look at a music sheet to your long-term memory.
Making this effort will give you great rewards. Knowing how to read and play piano sheet music will give you access to a nearly unlimited amount of music sheets with melodies, piano solos and more.
Piano tabs can be of great help as you work on learning sheet music notation. They are an easy way to learn melodies, chords and other things on your piano.
There are a few different types of piano tab notation on the net. In this article we will use a simplified form of the most common keyboard tablature notation.
In this system you will use the note names of the keys on your piano. The first note we will localize is the note commonly called middle c. Before you can find it we have to take a look at how the black keys are organized.
Looking at the black keys you will find groups with two or three black keys together. Middle c is located in the middle of your keyboard to the left of two black keys.
Middle c is often called c4. Actually, all white keys to the left of two black keys are called c. The number 4 shows that this c is in the fourth octave of a piano keyboard. An octave is the interval from one c to the next c.
The names of the white keys from one c to the next c is c d e f g a b c. The last note c is called c5 because it is one octave higher than c4.
Middle c is called c4 even on a smaller type of keyboard with less number of octaves. The c one octave to the left of c4 is called c3.
The easy piano tablature notation we will use as we learn to play White Christmas has these easy rules:
1. Lowercase letters show the white keys you are to play. For example, c d e f g a b
2. Black keys will be shown by uppercase letters. The note C shows that you are to play the black key to the right of c. Here is an E-major chord written this way: e G b
3. The octave in which you are to play a note is represented by a number after the letter. As mentioned before, the note c4 tells you to play middle c. The note E5 is the black key to the right of e in the octave to the left of middle c. The notes following a note with a number will only have a number when you change octave. Here is the beginning of Twinkle, Twinkle, Little Star: c4 c g g a a g
Now it is time to learn White Christmas with the help of piano tab notation. I will write the lyrics and the corresponding tabs below:
I'm dreaming of a white Christmas
e4 f e D e f F g
Remember, the notes following e4 are played in the same octave. The note D is the black key to the right of d. Let's continue:
Just like the ones I used to know
a b c5 d c b4 a g
Where the treetops glisten and children listen
c d e e e a g c c c g
Here is the last line of the first verse:
To hear sleigh bells in the snow
f e f e d c d
Now it is time to play the next verse. It starts the same way as the first verse but ends with a change in the two last lines:
I'm dreaming of a white Christmas
e f e D e f F g
With every Christmas card I write
a b c5 d c b4 a g
May your days be merry and bright
c d e e e a g c5
And may all your Christmases be white
c4 d e e a b3 b b c
In this piano tab notation you will not see the length of the notes but if you try to sing the lyrics as you memorize the tablature lines you will get the rhythm right!
About the Author
Peter Edvinsson invites you to download your free piano tabs and free piano sheet music at http://www.capotastomusic.com
What are some piano solos that are of equal or slightly greater difficulty as Debussy's Clair De Lune?
I need to get prepared for a talent show this spring, and I wanted to learn a new song. I was thinking Chopin's Valse Brillante in A-flat. Any other suggestions?
I like the Chopin 
But since you're asking for suggestions, here goes:
What kind of pieces do you want to play? Did you just want Chopin? Fast or slow? Dark, happy, mellow? How long?
Here are some around the same level as Claire de Lune that I personally like. I tried to pick a variety of different sounding ones because I'm not sure what you want/ like.
Chopin's Waltz in e minor Op. Post
Chopin's Waltz in G Flat Major Op. Post
Chopin's Nocturne in E minor op 72 no 1
Chopin Polonaise in C sharp minor op 26 no 1
Chopin Polonaise A flat major op. posth.
(The last 2 are my favourites)
Not by Chopin, but I like them:
Ginastera's Rondo sobre temas infantiles argentinos I love how spontaneous it is, lots of rhythm and key changes but It is not so difficult...)
Grieg's Notturno Op.54 No.4 (Probably easier than Claire de Lune)
Deshevov- The Rails (it sounds really cool and interesting when played well! It's fun to play too. It's really fast so it's short time wise.... if you are pressed for time)
Liebestraum no 1 by Liszt (less played than Liebestraum no 3, which is really popular! If you like #3 though, go with it, they're around the same level)
Good luck with your talent show!!!
Piano Solos
My Immortal - solo piano, Scott D. Davis
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Scriabin, Expression and Piano Technique
Scriabin’s piano technique and compositions were always controversial. From Op. 1 through Op 28, is compositions were inspired by Chopin. He was a pianistic genius who composed with treacherous left-hand writing, novel widespread figuration, and imaginative trills. He said he wanted his music to express the unheard tones between the keys, an effect calling for creative use of the pedals.
Scrabin's Piano Rolls were executed with writs that are rotary machines. His playing was arrhythmical, vertiginous, uniquely ecstatic, and faster than anyone else’s. A contemporary described him as “all nerve and a holy flame.” Alexander Pasternak remarked: “His playing was unique. It could not be imitated by producing similar tone, or power of softness, for he had a special and entirely different relationship with the instrument. I had the impression that his fingers were producing the sound without touching the keys. His spiritual lightness was reflected in his playing. Scriabin’s nervous playing was one of his characteristics.”
Mellers writes, “Scriabin’s music depends on the pedal effects of the modern grand piano, which dominates all his musical thoughts.” Swan attests that above all was the prevalence of soaring ecstatic moods that unveils the true Scriabin from his Chopinesque influence.
The middle period music, from Op. 30, the fourth Sonata, through his Fifth Sonata, Op. 53, is languorous and erotic, the pianism more widely spaced, while major and minor triads appear less as he constructed harmony in quartal blocks. Yet his modified ninth chords are still basically treated as dominant harmony waiting to be resolved into the home key. After the Fifth Sonata, key centers almost totally disappeared, and Scriabin dispensed with key signatures. The music dissolved into atonality, the idiom became more incandescent, intoxicated, and fevered. The composer’s favorite description was “sensations.”
Except for one piano concerto and five symphonies, Scriabin’s music is all for piano solo. There are upwards of 200 pieces, including 90 short preludes, nine impromptus, five waltzes, four nocturnes, ten sonatas, several concert pieces, and more.
Recommended reading: The Art of the Piano by D. Dubal.
Following is a review of selected pieces of Scriabin.
- Concerto in F-sharp minor, Op. 20: This concerto is in three movements, the middle movement being a simple set of variations.
- Sonata No. 2, Sonata Fantasy in G-sharp minor, Op. 19: The first of the two movements is an Andante with supreme melodic elaboration that has moldies chasing one another in playfulness. The second movement, a Presto, is shorter, and in triplets.
- It is one of Scriabin’s most smoldering works.
- Five Preludes, Op. 74: Scriabin’ last music is ominous, painfully intense and psychologically shattering.
To play Scriabin often requires a strong left hand. It is recommended to strengthen the left hand with left-hand piano exercises when practicing. Pianists inclined to Classicism or mental balance may have interpretive problems in Scriabin’s rarified world. It is among the most original piano music composed in Russia during the first half of the 20th Century.
About New Jersey Piano Lessons
Barbara Ehrlich is a Somerset County private piano teacher partnership based in Bedminster, NJ with a roster of current young piano students that includes a broad array of student ages, cultures and backgrounds. The newly formed New Jersey Piano Lessons works closely with parents to oversee and coordinate music activities in a variety of areas, including piano lessons, practice, theory and sight-reading. Visit New Jersey Piano Lessons at http://www.piano-nj.com/piano-lessons.html for more information about playing the piano in Somerset County.
About the Author
The mission of Barbara Ehrlich is to foster musical abilities by teaching others how to play piano in New Jersey. What makes her unique is that she approaches playing piano taking technique and ear training as starting points.
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Piano Solos